Karen@KarenCommins.com

Karen Commins

Award Winning

Atlanta Audiobook Share-rator™

Audiobooks

December 2012 Audiobook Releases

Two of my audiobooks released in December.

Lowcountry Bribe by C. Hope Clark (Book 1 in the Carolina Slade Mysteries)

Threats, a missing boss, a very dead co-worker, a high-level investigation, and a sinister hog farmer… Someone wants to make sure she buys the farm.

In Lowcountry Bribe, Carolina Slade is a by-the-book manager for the Dept. of Agriculture. A farmer offers her a bribe, and she decides to do the right thing — report it. Soon, her life and those of her children are in danger.

As a former career federal employee, I wanted to narrate this book from the moment I saw it. I had great empathy with the main character, and I was surprised by the strong emotions that I felt in many of the scenes.

I also thought the rural setting was a refreshing change from books about city-dwellers. In fact, the author discussed the country setting in an article titled “We Murder in the Country, Too”, which you may find interesting reading.

With over 13 hours of listening, this book would be an ideal companion on dreary winter days! 🙂

Harley Rushes In by Virginia Brown (Book 2 in the Blue Suede Memphis series)

Part-time tour guide and part-time amateur sleuth Harley Jean Davidson is back with another crime to solve. Her Aunt Darcy owns a furniture store and is convinced her partner is smuggling priceless artifacts…until Harley finds him hanging from elk antlers in the shop.

It’s a light-hearted, fun, cozy mystery.

As with the first book, Hound Dog Blues, the hero of my life story Drew Commins joins me in the booth and performs all the male parts. We enjoy recording this series and laugh at the interplay in the dialogue. Should I feel concerned that Drew sounds a little too good as the gay transvestite receptionist? 🙂
 

Summer/Fall 2012 Audiobook Releases

My audiobook work has continued steadily all year, and I’m blessed and grateful to report that more are coming!

In addition to the narration, I did the complete production of each of these books in my stunning soundproof studio. I am so fortunate that Drew directs me on my audiobooks. He is exceedingly good at catching mis-reads, and he also offers guidance about saying lines with different emotion or inflection.

Drop Dead Divas by Virginia Brown (Book 2 in the Dixie Divas mystery series)

No sooner has Bitty Hollandale been cleared of the murder of her ex-husband than townspeople suspect she may have killed his lover, town bad girl Naomi Spencer. In addition, Naomi’s fiancé Race Champion is also found dead. Talk about a fly in the martini!

Dixie Diva Blues by Virginia Brown (Book 3 in the Dixie Divas mystery series)

Trinket Truevine and her cousin Bitty Hollandale are once again up to their eyebrows in murder and mayhem. This time, the husband of one of the Divas has been arrested for murder. The Divas will stop at nothing to clear him…but what happens at a Divas meeting stays at a Divas meeting!

Irreparable Harm by Melissa F. Miller (Book 1 in the Sasha McCandless Legal Thriller series)

A smartphone app is capable of crashing a commercial jet. And it’s for sale to the highest bidder. A plane slams into the side of a mountain, killing everyone aboard. But, as attorney Sasha McCandless digs into the case, she learns the crash was no accident. She joins forces with federal air marshal Leo Connelly, and they race to prevent another crash.

Hound Dog Blues by Virginia Brown (Book 1 in the Blue Suede Memphis series)

With a heroine named Harley Davidson, you know this cozy mystery will be fun! Harley sets out to find out who dognapped family dog King (named after Elvis, of course) and quickly finds herself in the midst of a band of jewel thieves!

I’m also excited about it because my co-narrator who did all of the male parts is also the hero of my life story — Drew Commins! It was quite a challenge to record both of our parts and then edit it to make it sound seamless. We also gained greater appreciation for each others’ usual roles.

Inadvertent Disclosure by Melissa F. Miller (Book 2 in the Sasha McCandless Legal Thriller series)

In this book, tiny but fierce lawyer Sasha McCandless finds a town divided by the practice of hydrofracking. The town’s only judge is killed just as he is about to decide a major issue about the mineral leases. Sasha races to find the murderer and save the town before it’s too late.

Subsequent books in each of these 3 series are on tap for the coming months. I’m currently finishing Lowcountry Bribe by C. Hope Clark. This mystery thriller is set in South Carolina, and the protagonist works for the US Department of Agriculture. It should be released in early November.
 

Going Public for Audiobook Month and Some Pronunciation Info

June is Audiobook Month, and this is Audiobook Week!

To celebrate, a number of audiobook narrators are posting short recordings today in the Going Public project.

This audio project is the brainchild of narrator Xe Sands. Each Friday, new audio is offered  for free download. Xe describes the project as pieces

recorded purely for the joy of reading something that truly resonates with the narrator and then sharing that joy with others. Pieces are offered gratis on a weekly basis, without compensation of any sort either to the narrator or author.

The project is also a brilliant way to further perfect and market our voices and our talents as audiobook narrators!

Today, I’m presenting the short story “Black Thursday”. Author Melissa F. Miller graciously gave me permission to record her award-winning short story, which is the prequel to the suspense/thriller audiobook IRREPARABLE HARM.

In this story, first-year legal associate Sasha McCandless learns that her blessings come at a cost.

When performing audiobooks, one large part of the narrator’s job is the preliminary preparation. You need to pre-read a fiction book to know how the story flows and find clues about each character that will help you make good choices about their voice.

You also need to look up pronunciations of words. Since this short story dealt with a law firm, I needed to find out how to pronounce some legal terms.

I usually start by Googling “word pronunciation”, for example, “qui tam pronunciation”. Usually, dictionaries pop up first in the results, and I may quickly find what I need.

In this example, I found an interesting document from the American Bar Association which explains that lawyers differ on the pronunciation of qui tam. This material was an exciting find since it allowed me to further develop the character in my mind and decide which way he would say the phrase based on the back story I imagined for him.

Narrators Judith West and Heather Henderson collected and created an exceptional resource of pronunciation dictionaries and research techniques that is a treasure trove for any audiobook narrator: AudioEloquence.com

If you have some free time, take a listen to the contributions in Going Public. Like researching pronunciations for your book, you’ll never know what you’ll find!

Photo:  iStockPhoto/ContentWorks
 

Recent audiobooks

The new year has started off with a burst of audiobook work! I’m excited to report that 2 books I narrated are now available for digital download on Audible, Amazon, and iTunes.

It’s Never Too Late To Be What You Might Have Been

It's Never Too Late.jpg

This audiobook is actually the perfect title for this exciting, new phase in my life. IT’S NEVER TOO LATE TO BE WHAT YOU MIGHT HAVE BEEN by the wonderful storyteller B.J. Gallagher is full of inspiring interviews with people aged 40 and higher who have made dramatic changes in their lives in order to make their dreams come true.

Not only are the stories interesting and inspirational, but each chapter ends with some specific tips for making similar changes in your own life.

Recording this particular book was a gift to me because I benefitted from reading the chapters on wealth and fitness. Chellie Campbell was profiled in the chapter on attaining wealth. Thanks to her list of 50 abundance affirmations, my new mantra is “People just love to give me money!” Since I’ve started saying it, it seems to be coming true! 🙂

It’s never too late to have the dream career, attain wealth, fall in love, be healthy, and more! This audiobook may be just the right thing to help you start living the life you were meant to lead!

Dixie Divas

Dixie Divas.jpgWhat could be more fun and intriguing than a murder mystery that starts with a pot of chicken and dumplings?

Award-winning and prolific novelist Virginia Brown has cooked up a delicious tale about a close-knit group of Southern women who call themselves the Dixie Divas. The Divas gather for chocolate, conversation, and carrying a dead body around town. If you want to know what else happens at a Divas meeting, you’ll just have to hear the book!

I loved the characters and vivid descriptions of their charming Mississippi town. My director and I had to stop recording several times because we cracked up over the dialogue! This audiobook is the perfect companion for your spring break or summer trips when you want to entertained while relaxing by the pool or ocean. At almost 13 hours, it’s a terrific audiobook to enjoy on long car trips or while doing housework or walking the dog.

After only 2 weeks for sale, this audiobook is currently the #1 bestseller on Audible in the Chick Lit category! I’m also thrilled and honored that the publisher has asked me to narrate the 2nd and 3rd books in the series. Those titles should be available in early summer.

Speaking of which, it’s time to head back into the studio — the Divas await!

To voice Royalty-Share Audiobooks… or not. That is the question.

Many new audiobook publishers are only offering a royalty-share model of payment. In this model, the narrator is not paid anything up front and is instead paid a percentage of royalties based on the sales of the audiobook.

Is a 50-50 split on royalties right for you?

 
Some people would get irate at the very idea of doing any work without guaranteed payment. They would rant and rave that taking a royalty-share deal makes one a low-baller, someone who is selfishly going to destroy the whole voiceover industry by not charging the appropriate rate.

I’ve seen these kinds of arguments in on-line voiceover forums so many times, and I’m not looking to start one here! It’s my intention to present reasons on both sides of the table to help you make an informed decision.

Many voice talent are understandably reluctant to undertake this kind of work due to the tremendous amount of time required to produce a quality audiobook.

I can think of 4 other big reasons not to accept a royalty-share agreement:

1) The material doesn’t interest me.

I am very selective about the scripts I perform, especially when it comes to an audiobook. Since you aren’t guaranteed to make any money, the book can truly be considered a labor of love. Still, I want my audiobooks to emphasize the LOVE part and not the LABOR!

Although I didn’t know it when I accepted the projects, the first 2 audiobooks I performed were thinly veiled religious sermons. They also contained about 80% dialogue with a lot of “walk-on” characters whose sole purpose was to advance the plot. I truly struggled in my motivation to finish the books.

After those experiences, I know to use the “Look Inside” feature on Amazon to see how the book flows. If the book looks unappealing, it’s not worth it to me to spend my time on it, regardless of whether I’m paid per finished hour or on a royalty-share basis.

2) The material is not suited for audio.

Point number 3 in this article will give you an idea of the kinds of books that wouldn’t make good audiobooks.

3) The audio publisher has limited distribution methods.

I have accepted royalty-share agreements on ACX.com because Audible.com is the undisputed leader of audiobook distribution. I know my audiobooks will be distributed on Amazon, Audible, and iTunes. I also can have faith in Audible’s accounting and payment processes.

I have passed on royalty-share agreements offered by new publishers with no track record.

4) You have responsibility for all of the roles: narrator, audio engineer, producer, director, pronunciation researcher, quality control listener, and marketer. If you can’t outsource some of the functions, do you have the time and are you comfortable in performing all of them? 

On the other hand, I can also think of 5 good reasons to accept a royalty-share narration:

1) You can create something of permanence that will be enjoyed for years to come. 

Not only are the listeners able to enjoy your audiobook, but you may find that you enjoy a recurring, passive income stream from its sales.

2) It’s a great way to improve your workflow and become a specialist.

You also can explore new genres to see how well you like the material.

3) Productivity equals success. 

According to Lee Tobin McClain in her article The Key to Success: Write More!: Artistic and scientific achievers from Picasso to Da Vinci didn’t succeed more, percentage-wise, than other now-unknown creators of their eras; they simply produced more, and thus had more successes. 

She goes on to offer 8 ways to increase your productivity. While her tips are aimed at writers, voice talent can extrapolate from them and apply the ideas to our businesses.

For instance, you can build an expectant audience (i.e., a fan base) with a royalty-share book. I actually did this with a book I performed for LibriVox. I’ve seen reviews of the book and even received fan mail!

4) What you put out in the world comes back to you.

I gave that LibriVox audiobook to the world after reading the advice of Eckhart Tolle. I’ve decided that I would rather get a commercial credit on a royalty-share audiobook than produce another book for the public domain. I have seen my LibriVox audiobook for sale on eBay, but that point doesn’t trouble me.

The commercial credits are important so that I can become an Audible Approved Producer and meet membership requirements for The Recording Academy. Nobody cares how or when I was paid for my commercial credits.

5) You’re planting seeds for a future harvest. You never know where the decision will lead.

In his wonderful autobiography Up Till Now, William Shatner wasn’t talking about audiobooks when he wrote these compelling words, yet his wisdom about taking risks certainly applies to this situation:

In 1968 Decca Records asked me if I was interested in doing an album. I hesitated, I wasn’t a singer — but then it was pointed out to me that the first note in the musical scale is do… 

What I decided to was find a selection of beautiful writing and use that as a lead-in to a song that complemented it…Apparently it was a bit obtuse…for most people…. 

I’d taken a creative risk. I’d tried to do something unique, something very different. And I’d learned very early in my acting career that you can’t improve without taking risks… 

Decades later, my debut album “The Transformed Man” would lead directly to one of the most successful commercial ventures of my career — and another album!… 

It turned out that the copywriter on the [Priceline] account, Ernest Lupinacci, was a big fan of my 1968 album “The Transformed Man”. 

I am absolutely fascinated as I look over my shoulder at my past at how the simplest decisions I’ve made have had the most complex reactions. A career is a series of connected events. So when I turned down an offer, I wasn’t simply rejecting a job and paycheck, I was completely eliminating the possibility that it might lead to something else. When you turn down an opportunity to work, you’re also turning down an experience, maybe even an adventure, and a universe of possibilities.

Two footnotes on Shatner’s story:

  • I recommend that you listen to his audiobook rather than read the book. Hearing him tell his story in his often-imitated but imcomparable style is a true pleasure!
  • That fabulous gig as Priceline’s spokesperson is about to end, but it lasted for 14 YEARS! Think how much money he made just from that one enterprise! And he never would have had it if he hadn’t taken a risk.

I’m not saying that people shouldn’t expect payment up-front for an audiobook. I am simply encouraging you to explore the possibility of narrating a book on a royalty-share agreement. Only you can decide how best to build your business. You may find that doing one or more royalty-share audiobooks is a better building block than you had imagined!

Have you done any audiobooks on royalty-share agreements? I’d love to get your comments on the blog!

Photo:  iStockPhoto/LockieCurrie
 

Authors: Want to Create Audiobooks of Your Books?

In May, I wrote about Audible’s launch of the Audiobook Creation Exchange, or ACX.com. Audible, the leading company in downloadable audiobooks, created the site because they determined their listeners are voracious readers, and the demand for new audiobooks continues to increase. Currently,only about 5% of books are made into audiobooks. Since ACX is open to authors, I thought a narrator’s perspective might help you decide whether to list your title on ACX for audiobook production.

ACX is a marvelous tool to help you exploit the audio rights to your book, especially since the audiobooks will be distributed on Audible, iTunes, and Amazon. However, you should be aware that all books are not suitable for audio. You’ll want to consider these factors when deciding to create an audiobook of your book:

1.  The 2010 Audio Publishers Association (APA) Consumer Study shows that audiobook listeners are very likely to be doing something else while listening to the book: driving or traveling, housecleaning, creating crafts, exercising, or working on the computer.

2.  The Consumer Survey also showed that most people would not buy both the print and audio versions of a book. Any kind of interaction that is needed with the physical book in order to understand the content probably is not a good choice for an audiobook.

Some info could be provided as additional download material, such as illustrations in a PDF document. Still, you can’t assume that the listener has a device with a display or that they will take the time to download or view the additional material on their computer.

3.  Some printed content just doesn’t translate well to audio. A narrator would be challenged to do justice to material that relies on visual aspects like photographs. This kind of material could be a turn-off to the listeners. Examples include:

  • Questionnaires with a point scale or essay questions — Many personal development books contain assessments and quizzes that need to be worked on paper.
  • Statistical graphs
  • Textbooks with problems to solve

One of the ACX FAQs lists other types of books that would not make good audiobooks.

4.  Audiobook narrators read your book as it is written. You may need to make some changes in the text to make it more friendly to the ear, which keeps the listener in the moment. For instance, if your printed book says “you’re reading this book”, you might change the verb to be “you’re listening to this book.”

Assuming your book is a good fit for audio, you next have to decide whether to narrate it yourself or hire a professional voice talent to narrate it for you. ACX has a wonderful FAQ for authors who want to narrate their books.

I wouldn’t presume to advise you on this important decision. Instead, I can report two observations from an on-line discussion that is no longer available. Many people expressed a preference for authors as narrators on autobiographies or books written by comedians. An important comment in the thread was “how is the book best served?”

More often than not, you may decide that the book is best served by hiring a professional narrator. If you take this route, here are 4 more pieces of advice for the casting process on ACX:

5.  You can query for a particular narrator’s name, like “Karen Commins”, or for certain narrator characteristics, like accent, genre, and pay rate. After you listen to the narrators’ samples, you can contact a narrator directly. For your easy reference, here’s the link to my ACX narrator profile.

6.  You can post your title for auditions. In this case, narrators will record a short segment of text that you specify. You could pick a section with conversations or straight narrative text. It’s a good idea to establish a cut-off date for auditions in your mind. Otherwise, you could receive a staggering number of auditions in a short period of time.

7.  You might get more auditions if you post your project as a pay-for-performance rather than a royalty-share title. While a royalty agreement is highly attractive to an author, many narrators are reluctant to enter into a royalties-only deal because the narrator bears all of the risk.

Past experience taught me that I need to narrate a book that I love. I won’t voice any kind of project just for the money, but I am even more selective about audiobook gigs. Audiobook narration tends to equate to a much lower hourly rate than narrations for corporate videos or e-learning projects.

As a narrator and producer, I would be spending a large amount of time with the book — at least 5 hours for every finished hour of narration. Therefore, a book with a finished time of 10 hours requires 50 or more hours for me to research, record, and edit the recording. For a full explanation of the time needed for audiobook preparation and production, I refer you to this article.

Given the time involved to narrate and produce an audiobook, I would consider a royalty deal if I’m passionate about the book and want to promote its message in the world. The narration can be its own reward in those instances.

8.  Pick a narrator whose vocal qualities best match the way you hear your book in your head. Just as all books are not suitable as audiobooks, all voices are not suited to read the same material. Wanna hear what I mean? Read this article titled Read Me a Story Brad Pitt: When audiobook casting goes terribly wrong.

I look forward to your comments the blog. If you do decide to post your book on ACX, let me know. I just might audition for it!